#outlining a story

[linkeduniverse]

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[whumpsoda]

I. I love vampire hunters turned thralls. Brainwashed into adoring little pets to creatures of which they once chased down with the goal of killing… UGH just someone who used to hate the thing they now address as master… bonus points if they get their memories erased and have no memory of their hunter past :3

[muffinlance]

Me: Don't write a 20k chapter don't write a 20k chapter don't write a

Also Me: ...but what if

[leupagus]

Me before writing this GOT fic: this will mostly be about Sansa, my main squeeze, my best girl and beloved

Me while writing this GOT fic: so instead of the whole dumb shit that happens to Daenerys in seasons 5 & 6 what if instead she’s presiding over Meereen while it invents democracy so it can vote her out of the city. Along the way Meereen invents journalism and soccer.

[thosedamnedghouls]

and when i tell you all ive unfortunately fallen down the Dick Grayson parents Peter Parker rabbit hole

[physalian]

“How do I know if my story needs work or if I’m just being hard on myself?”

As I sit here accepting the fact that at 70k words into Eternal Night’s sequel while waiting for my editor for Eternal Night itself, that I have made an error in my plot.

Disclaimer: This is not universal and the writing experience is incredibly diverse. Figuring this out also takes some time and building up your self-confidence as an author so you can learn to separate “this is awful (when it’s not)” and “this is ok (but it can be better)” and “this isn’t working (but it is salvageable).”

—

When I wrote my first novel (unpublished, sadly), years ago, I would receive feedback all over the chapters and physically have to open other windows to block off parts of the screen on my laptop to slow-drip the feedback because I couldn’t handle constructive criticism all at once. I had my betas color-code their commentary so I could see before I read any of it that it wasn’t all negative. It took me thrice as long as it does today to get through a beta’s feedback because I got so nervous and anxious about what they would say.

The main thing I learned was this: They’re usually right, when it’s not just being mean (and even then, it’s rarely flat out mean), and that whatever criticisms they have of my characters and plot choices is not criticism of myself.

It did take time.

But now I can get feedback from betas and even when I hear “I’d DNF this shit right now unless you delete this,” I take a step back, examine if this one little detail is really that important, and fix it. No emotional turmoil and panic attack needed. I can also hear “I didn’t like it” without heartbreak. Can’t please everyone.

The only time I freak out is when I'm told "this won't need massive edits" followed up by, in the manuscript, "I'd DNF this shit right now". Which happened. And did not, in fact, require a massive rewrite to fix.

So.

What might be some issues with your story and why it “isn’t working”.

1. Your protagonist is not active enough in the story

You’ve picked your protagonist, but it’s every other character that has more to do, more to say, more choices to make, and they’re just along for the ride, yet you are now anchored to this character’s story because they’re the protagonist. You can either swap focus characters, or rework your story to give them more agency. Figure out why this character, above any other, is your hero.

2. Your pacing is too slow

Even if you have a “lazy river” style story where the vibes and marinating in the world is more important than a breakneck plot, slow pacing isn’t just “how fast the story moves” it’s “how clearly is the story told,” meaning if you divert the story to a side quest, or spend too long on something that sure is fluffy or romantic or funny, but it adds nothing to the characters because it’s redundant, doesn’t advance the plot, doesn’t give us more about the world that actually matters to the themes, then you may have lost focus of the story and should consider deleting it, or editing important elements into the scenes so they can pull double-duty and serve a more active purpose.

3. You’ve lost the main argument of your narrative

Sometimes even the best of outlines and the clearest plans derail. Characters don’t cooperate and while we see where it goes, we end up getting hung up on how this one really cool scene or argument or one-liner just has to be in the story, without realizing that doing so sacrifices what you set out to accomplish. Personally I think sticking to your outline with biblical determination doesn’t allow for new ideas during the writing process, but if you find yourself down the line of “how did we get here, this isn’t what I wanted” you can always save the scenes in another document to reuse later, in this WIP or another in the future.

4. You’re spending too long on one element

Even if the thing started out really cool, whether it’s a rich fantasy pit stop for your characters or a conversation two characters must have, sometimes scenes and ideas extend long past their prime. You might have characters stuck in one location for 2 or 3 chapters longer than necessary trying to make it perfect or stuff in all these details or make it overcomplicated, when the rest of the story sits impatiently on the sidelines for them to move on. Figure out the most important reasons for this element to exist, take a step back, and whittle away until the fat is cut.

5. You’ve given a side character too much screentime

New characters are fun and exciting! But they can take over the story when they’re not meant to, robbing agency from your core characters to leave them sitting with nothing to do while the new guy handles everything. You might end up having to drag your core characters along behind them, tossing them lines of dialogue and side tasks to do because you ran out of plot to delegate with one character hogging it all (which is the issue I ran into with the above mentioned WIP). Not talking about a new villain or a new love interest, I mean a supporting character who is supposed to support the main characters.

—

As for figuring out the difference between “this is awful and I’m a bad writer” and “this element isn’t working” try pretending the book was written by somebody else and you’re giving them constructive criticism.

If you can come up with a reason for why it’s not working that doesn’t insult the writer, it’s probably the latter. As in, “This element isn’t working… because it’s gone on too long and the conversation has become cyclical and tiring.” Not “this element isn’t working because it’s bad.”

Why is it bad?

“This conversation is awkward because…. There’s not enough movement between characters and the dialogue is really stiff.”

“This fight scene is bad because….I don’t have enough dynamic action, enough juicy verbs, or full use of the stage I’ve set.”

“This romantic scene is bad because…. It’s taking place at the wrong time in the story. I want to keep it, but this character isn’t ready for it yet, and the vibe is all wrong now because they’re out-of-character.”

“This argument is bad because…. It didn’t have proper build-up and the sudden shouting match is not reflective of their characters. They’re too angry, and it got out of hand quickly. Or I’m not conveying the root of their aggression.”

—

There aren’t very many bad ideas, just bad execution. “Only rational people can think they’re crazy. Crazy people think they’re sane,” applies to writing, too.

I just read a fanfic recently where, for every fight scene, I could tell action was not the writer’s strong suit. They leaned really heavily on a crutch of specific injuries for their characters, the same unusual spot getting hit over and over again, and fights that dragged on for too long being unintentionally stagnant. The rest of the fic was great, though, and while the fights weren’t the best, I understood that the author was trying, and I kept reading for the good stuff. One day they will be better.

In my experience beta reading, it’s the cocky authors who send me an unedited manuscript and tell me to be kind (because they can’t take criticism), that they know it’s perfect they just want an outside opinion (they don’t want the truth, they want what will make them feel good), that they know it’s going to make them a lot of money and everyone will love it (they haven’t dedicated proper time and effort into researching marketing, target audiences, or current trends)—these are the truly bad authors. Not just bad at writing, but bad at taking feedback, are bullies when you point out flaws in their story, and cheap, too.

The best story I have received to date was where the author didn’t preempt with a self-deprecating deluge of “it’s probably terrible you know but here it is anyway” or “this is perfect and I’m super confident you’re going to love it”.

It was something like, “This is my first book and I know it has flaws and I’m nervous but I had a lot of fun doing it”.

And yeah, it needed work, but the bones of something great were there. So give yourself some credit, yeah?

[deception-united]

Let's talk about story structure.

Fabricating the narrative structure of your story can be difficult, and it can be helpful to use already known and well-established story structures as a sort of blueprint to guide you along the way. Before we delve into a few of the more popular ones, however, what exactly does this term entail?

Story structure refers to the framework or organization of a narrative. It is typically divided into key elements such as exposition, rising action, climax, falling action, and resolution, and serves as the skeleton upon which the plot, characters, and themes are built. It provides a roadmap of sorts for the progression of events and emotional arcs within a story.

Freytag's Pyramid:

Also known as a five-act structure, this is pretty much your standard story structure that you likely learned in English class at some point. It looks something like this:

Exposition: Introduces the characters, setting, and basic situation of the story.

Inciting Incident: The event that sets the main conflict of the story in motion, often disrupting the status quo for the protagonist.

Rising Action: Series of events that build tension and escalate the conflict, leading toward the story's climax.

Climax: The highest point of tension or the turning point in the story, where the conflict reaches its peak and the outcome is decided.

Falling Action: Events that occur as a result of the climax, leading towards the resolution and tying up loose ends.

Resolution (or Denouement): The final outcome of the story, where the conflict is resolved, and any remaining questions or conflicts are addressed, providing closure for the audience.

Though the overuse of this story structure may be seen as a downside, it's used so much for a reason. Its intuitive structure provides a reliable framework for writers to build upon, ensuring clear progression and emotional resonance in their stories and drawing everything to a resolution that is satisfactory for the readers.

The Fichtean Curve:

The Fichtean Curve is characterised by a gradual rise in tension and conflict, leading to a climactic peak, followed by a swift resolution. It emphasises the building of suspense and intensity throughout the narrative, following a pattern of escalating crises leading to a climax representing the peak of the protagonist's struggle, then a swift resolution.

Initial Crisis: The story begins with a significant event or problem that immediately grabs the audience's attention, setting the plot in motion.

Escalating Crises: Additional challenges or complications arise, intensifying the protagonist's struggles and increasing the stakes.

Climax: The tension reaches its peak as the protagonist confronts the central obstacle or makes a crucial decision.

Swift Resolution: Following the climax, conflicts are rapidly resolved, often with a sudden shift or revelation, bringing closure to the narrative. Note that all loose ends may not be tied by the end, and that's completely fine as long as it works in your story—leaving some room for speculation or suspense can be intriguing.

The Hero’s Journey:

The Hero's Journey follows a protagonist through a transformative adventure. It outlines their journey from ordinary life into the unknown, encountering challenges, allies, and adversaries along the way, ultimately leading to personal growth and a return to the familiar world with newfound wisdom or treasures.

Call to Adventure: The hero receives a summons or challenge that disrupts their ordinary life.

Refusal of the Call: Initially, the hero may resist or hesitate in accepting the adventure.

Meeting the Mentor: The hero encounters a wise mentor who provides guidance and assistance.

Crossing the Threshold: The hero leaves their familiar world and enters the unknown, facing the challenges of the journey.

Trials and Tests: Along the journey, the hero faces various obstacles and adversaries that test their skills and resolve.

Approach to the Inmost Cave: The hero approaches the central conflict or their deepest fears.

The Ordeal: The hero faces their greatest challenge, often confronting the main antagonist or undergoing a significant transformation.

Reward: After overcoming the ordeal, the hero receives a reward, such as treasure, knowledge, or inner growth.

The Road Back: The hero begins the journey back to their ordinary world, encountering final obstacles or confrontations.

Resurrection: The hero faces one final test or ordeal that solidifies their transformation.

Return with the Elixir: The hero returns to the ordinary world, bringing back the lessons learned or treasures gained to benefit themselves or others.

Exploring these different story structures reveals the intricate paths characters traverse in their journeys. Each framework provides a blueprint for crafting engaging narratives that captivate audiences. Understanding these underlying structures can help gain an array of tools to create unforgettable tales that resonate with audiences of all kind.

Happy writing! Hope this was helpful ❤

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[esamastation]

People who do story outlines before you start writing... how? Serious question. How do you do your outlines? Is it like a bullet point list, do you write descriptive previews...?

[north-noire]

As William drives out of state to seek help from the guilt that's been eating him up, meanwhile Michael struggles with going to school without a friend by his side.

Hidden Hands Chapter 5 is out! AO3 Fic Link Here Previous Chapter Beginning Chapter

Hey, I would appreciate it if you reblog this post! I try my hardest for this AU fic, so reblogging it and being able to share it goes a long way!

[askblueandviolet]

I need to see the spider demons please 😭🙏

[thatkoiboi]

//hi hi. just before we embark on this journey, there is a song that just adds a whole new element when i read the comic while listening. it's called "Je te laisserai des mots" by Patrick Watson, if you want! i put links at the bottom of the post O_o//

Same phrase, different contextual meaning... nothing but LOVE

[erinwantstowrite]

Let me just quickly say, cross-overs can sometimes get REALLY difficult to map out and write in a cohesive way but you have absolutely NAILED IT!! I absolutely ADORE LoF!!! I usually don’t even bother reading fics with the ‘Richard Grayson is Richard Parker’ premise cause I felt like they were super confusing and overcomplicated but this fic?? SUPERB. ABSOLUTELY INCREDIBLE. OH MY GOD I ADORE IT. Everyone’s characterizations are so nice and wonderful aaaaaaah!!!! <33333

Ok ok I did actually have a question as well: would you be willing to share what your writing process looks like in terms of a chapter you’ve already posted? I was just wondering since I’m also currently working on my own fic (it’s been a few years but I managed to get fixated on an idea and it grew legs lol) and I’m currently fighting the organization of it haha.

How do you keep track of the plot points and/or foreshadowing you want to get a ‘lightbulb!’ moment for later? Do you have any tips?

Thank you so much! I absolutely adore your writing AND your art is so gorgeous omg it adds so much to the incredible story :DDD I hope you have a good day!!

I have a secret: I actually didn't like "Richard Grayson is Richard Parker' tag for a while for the same reason. Sometimes they felt like they missed the mark or it's just. A thing that's there? I almost didn't include it for LoF, but I'm glad I did because it changed the direction in such a big way.

Another secret: this made me incredibly happy because I have read so many wikis and scoured the internet to make sure that I had enough info on both fandoms so LoF could make sense to anyone who's reading it, whether they know Spider-Man, Batfam, or neither at all. Sometimes I worry a lot before I post that I'll miss a mark and will confuse people.

As for the question: I definitely am willing to share what my writing process looks like!

Be prepared for under the cut, I love to yap. It's in my blood to yap. And that's why it took a minute to get to this ask haha

(Spoilers for Leap of Faith!! Everything mentioned has already been published ((Chapters 1-11))

I had to go and find out which chapter I wanted to use as an example and I think we're gonna go with Chapter 5 for the most part :)

My writing process is, as described by alighterwood:

I think the description fits because while I'm all over the place, I have to be very detail oriented and I store everything in one spot.

Starting with the overall process, what I find is most helpful for me, when organizing, is having a notebook rather than doing it all digitally. I've been using a 70 sheet notebook that I had lying around waiting to be used, and as of yesterday, I officially filled the entire thing front to back. It's been an incredible help, for a lot of reasons, but mostly because it's a lot easier to remember something I physically wrote down than it is to remember something I typed. I'm now on to my second notebook for LoF, and I might even have to get a third.

In another ask, startupkat asked me this:

And I shared a little about my outline process there, but I'll try to go into a little more depth here. Emphasis on little because this is so long.

I write a truly insane amount of outlines in this notebook.

This is just what I can show you, but a good chunk of the notebook is just outlines. Over and over and over again. That's because they're always changing/adapting based on so many different factors. Sometimes I get to a chapter I thought I had fully planned out and then realize it just doesn't work anymore. Other times, I get to the chapter and realize I don't want to write that anymore/isn't as interesting as I thought it would be. A few times I got halfway through a POV of a scene I was struggling on and decided to switch POV's, which will change up the outline for a chapter every now and then.

Which is why I don't write incredibly detailed outlines and try to keep it vague until I actually get to that chapter. It's a lot less daunting to rewrite a chapter outline than it is to rewrite the entire outline.

Fic outlines and Chapter outlines look a lot alike.

This is what I said in the other ask, but I didn't elaborate on it all the way.

I make a list just like that, and then I try to put it in chronological order/in an order that makes sense. I keep the Fic outline vague by writing down "Goals" for a chapter rather than scenes. But I also keep notes to myself if I really think something is important. The more important I think a scene needs to be, the more details I write down to make sure my future self recalls what I had in mind when I thought it up.

Really simple example:

Chap 1 Goal: Peter gets to Gotham and meets Babs while running around. Meet Nightwing too? Get shelter.

Chapter 2 Goal: Bats are like "???" about Peter. Batfam dynamic important... Peter stalking Batfam back? Peter meet Batman >:)

When I get to a chapter, that's when I make a far more detailed list of wants/needs/goals. It's the Step 2 from the Step 1. Here are some examples from Chapter 5:

Needed to have:

More POV's from universe 1299 (Peter's home universe)

Tony's POV more specifically, how he's doing/feeling, what he's figured out

What they've figured out on 1299 side vs what's going on in 1300 (Gotham)

Explaining more about Peter's trauma/his past

Dick learning more about Peter, and vise versa

Wanted to have:

Ned being a more central character

Natasha :)

Loki being a little shit

Tony and Cap bickering

Peter talking to Nightwing again

The last name Grayson

Gymnastics!!

(This is the shortened list, because the chapters are so long)

When I looked at this list before writing my outline, I had to figure out how I could incorporate everything. If I needed more 1299 POV's, and I wanted Ned, Natasha, and Loki, there's one scene accounted for. I had to get their side of things and wanted that trio together. I needed a Tony POV, and I wanted Tony and Cap bickering, so those went together, plus I got 1299's POV of Ohnn and his plans explained.

I needed to have Peter explaining more about his trauma, and Dick and Peter to talk/get closer. I wanted a Nightwing POV, to have Peter say his last name, and them doing gymnastics. I knew Peter wouldn't willingly talk about that, so I had him have a nightmare. Not only did it give readers perspective but it made Peter more susceptible to talking to Nightwing because he was more emotionally vulnerable/lonely, and that's how that scene came together.

That's when I would write down the chronological order of these events by writing out "Scene Blocks." (This is what I wrote down but my handwriting was so bad I can't subject y'all to it):

scene 1- Ned talking to Loki. Natasha should be nearby and observing Loki's behavior. They are not on friendly terms. Ned is more worried about Peter than he is as to what Loki could be up to, so Natasha takes on that role.

scene 2- Tony is freaking out about Peter being in an alt dimension. He should attack Ohnn when he's not prepared for it. Beat his ass? Beat his ass. Cap there too.

scene 3- Peter's nightmare. "Ben, where do you go when you die?" "Where do you think?" "With you. Where you went."

scene 4- Nightwing and Peter.

Of course, things come to attention when writing. Like originally, Tony and Cap were arguing in the Tower. But it was a little too much like his and Natasha's argument, and I kept in mind that Tony is smart. Sometimes I forget that the characters are smarter than I am, so I have to account for what they would figure out. So Tony would have picked up the puzzle pieces and come to more conclusions than I originally thought about, and I figured he'd be way more proactive about it than just. Being in the Tower and waiting.

Which means that that scene ended up being as listed above: having a squabble with Cap, learning more about Peter's dynamic with the Avengers in this universe, and seeing how Tony is reacting to it by throwing himself head first into trying to capture Ohnn.

I'll realize I need something else to be mentioned or put in and I'll have to shimmy things around, but that's basically how it goes.

As for other forms of organization:

Keeping a timeline is so important because it tells you a lot about the environment your characters are in. It's also important to remember what a character has on them, what money they've spent, who they've met/who you have mentioned, every alias that is being used, to read your work and write down edits you want to make before you make them, to write down ideas beforehand of situations you can use, and, most importantly: MAKE A MAP!! This has saved me so many times. Sometimes your brain WILL trick you or make it harder on you to envision a scene. Make a map of where your characters are physically!! It will save you too!!

As for foreshadowing and plot points, I'll let you in on yet another secret:

Your subconscious is doing a lot more than you think it is.

Sometimes when I foreshadow something, I didn't even know I was until I got to it. I very often go back to read chapters that came before this to see what I've mentioned and what I haven't, and when I do, I'll see something and go "I have to bring this back" or "I almost forgot about that!"

Other times, I am very aware of what I'm foreshadowing, and that's because I follow a mystery plot formula. You have to keep in mind everyone's intentions, all the time. How are they feeling? What are their motivations? And: what are they doing right now, while this character is doing this?

Like Beck and Ohnn. From the very beginning, I knew I had to make sure that it was obvious Ohnn wasn't working alone. From there, I had to weave through the story and slowly build him up as someone who's working behind the scenes. Even from Ned's first POV, I made sure to mention that this person knows Tony and is tech savvy.

My biggest tip is to make sure you reread your work or at least skip through it, because sometimes you don't even know that you placed something there.

And sometimes, it's very purposeful. :)

I hope this helped! I really tried to keep it short but I am insane and the process is sooooo long. It sounds complicated but it really is simple when you're actually doing it I swear

[muffinlance]

Writing Status:

Fox's Tongue and Kirin's Bone: next chapter FINALLY done and posted to Patreon, that took forever, no help my glasses that turned out to have manufacturing defects no wonder it hurt to look at computer screens so much

Dark Night in Ba Sing Se: writing! started! First chapter is coming along nicely, RIP Zuko, and especially RIP Zuko's guard hat. Going to try and get this one up in the next week or so? The weather is lovely and there is no joy quite like picking strawberries and then bringing them to your children's splash pad for om-nomming with said children while your feet go kicky-kick in cool water, so no promises

[elbdot]

How long will it take till El and Guzma start showing *CANON* feelings towards eachother?

*looks at planned story arcs* Ok so we have regular bonding shenanigans, then we have a vital Guzma arc in here, an El arc planned as well, plans for Season 3, scheduling time for comics between commission work and other projects, calculating... ...ah shit we'll be here for another 7 years again, won't we

[a-writing-otter]

WIP Wednesday

“I can’t believe you fucked that old man.”

Bill’s head snaps up so quickly from where it was inside of the air duct that he smacks it on the metal internals. When he reappears cursing and rubbing at his head, there’s dust bunnies in his hair and clinging to his eyelashes.

“You can’t believe I what?”

“You fucked that old man,” Red repeats, feet up on the counter as she lazily reads something called “Lumberjack Layabouts Weekly.”

“I—“ And Bill lets out a grunt as he comes down from the ladder to slam his hands on the counter and lean into her space. The action does little to phase her other than make her look up.

“Neither of those things are right!”

Red takes a second to turn the page of her magazine, but doesn’t look away from Bill.

“That’s not what I heard.”

Bill’s eyes roll back into his skull for a second. He thinks of what he was told to do both by the therapium and Question Mark’s fiancée: deep breaths in and deep breaths out, count to ten, don’t visualize throttling them no matter how fucking annoying these fleshbags are.

“First of all, I’m older than him,” he begins, like that’s the important part.

“You don’t look it.”

“That’s because I take good care of myself.” Which is only partially true.

When the Axolotl and the entire therapism decided Bill’s methods of rehabilitation weren’t working, they’d sent him here. To hell.

…to earth.

Stripped of his powers, they’d shoved him into a meat suit that was an “appropriate approximation of his natural form” (Bill resents that statement entirely, but the appearance has grow on him). The dark skin and golden eyes are quite a contrast coupled with the golden hair offset by strays strands of grey or white hair. Melody has helped him figure out how to wash and maintain it, which is far more maintenance than he was expecting after watching Ford for years barely do anything more than occasionally wash it and wake up. Bill’s currently picking dust bunnies out of an individual lock, throwing them into the trashcan by the counter (like hell is he sweeping up in this damned place more than he has to).

He has it on good authority that this is a desirable fleshbag form, both from the open way that people compliment him and the way people stared. …he’s getting used to the staring and has stopped threatening to flay people alive who let their eyes linger too long.

Question Mark calls it progress; Bill calls it not wanting to see that haunted, barely contained disappointment on Melody’s face again. She is simultaneously the kindest and cruelest person he’s met on this plane. In spite of literally everyone’s reservations about Bill being on the same plane as the rest of these humans, she’d been willing to hear him out, offer him accommodations here at the Mystery Shack, and even provide a job if he could behave.

She also detailed to him with a sunshiney smile and no insignificant amount of knife waving that if Bill started anything, anything looking like world domination under her roof, not even the Axolotl would be able to save him.

If nothing else, she’s done more than a little to earn his respect and compliance than anyone else in this entire reality.

So, he’d gotten used to people staring and it doesn’t bother him.

At least, until one particular person started staring.

“Second of all, I didn’t—“ And he looks around, makes sure no hide or hair of thirteen year-old menace can be seen before he continues, “—fuck Sixer.”

Red closes the magazine entirely and shifts to take her feet off the counter and lean on it with her arms folded—this is what she’d wanted to hear.

“I heard Stan caught you two in the bathroom.”

Bill clears his throat and starts back up the ladder to avoid having to look at Red even as he feels something warm in his face.

“Stan doesn’t know what he saw.”

Red lets out a raucous laugh that makes Bill wince and wrinkle his nose as he sticks his head back in the vent to continue clearing it out.

“I heard that you two also got into a fistfight at dinner before that. Weird foreplay, but I can respect it.”

Everyone, mostly Question Mark and Shooting Star, have insisted on family dinners since both sets of Pines twins returned to Gravity Falls. And, somehow, Bill gets lumped into that because he sleeps in the Shack (specifically, the sofa in the living room because everywhere else is off-limits). It’s been three weeks and most everything has been simpatico, Shooting Star was the fastest to warm up after her initial talk too of “unspeakable horrors” she’ll unleash on him if he steps a toe out of line. The fact that he’s powerless seems to make her willing to humor him.

…also something about him looking like a wet rat? And it was a good thing? Bill didn’t ask. Or, rather, he had asked and she brushed him off and because he knew Stanley will flay him alive if he lays a finger on either niece or nephew, he let it go.

Pine Tree has been a lot more hesitant in his behavior, sure, but he’s recently started being in the same room with Bill and musing aloud in ways that Bill knows are directed at him without talking to him. Pine Tree will state something stupid about the state of the town and when Bill corrects him, he’ll scribble it down, go silent, then rinse and repeat.

Stan has been… well, they were avoiding each other without problem. The closest they get to a conversation is when they’re both sitting in the living room after everyone else has gone to bed and before Stan goes to his bed and Bill passes out on the sofa. Their talk is a roundabout back and forth about complaining about what’s on the television and saying there’s “never anything good on”. Occasionally Bill will liken something on the screen to something he’s seen on television in other dimensions, Stan will grunted, and then they go back to silence.

They’ve also worked out a system where they’re allies in their silent agreement to watch The Duchess Approves as long as no one else finds out about it.

…and then there’s Ford.

They haven’t been in the same room as each other outside of dinner even remotely. Bill doesn’t look at him, Ford doesn’t acknowledge him, and it’s fine.

It’s fine.

It doesn’t bother him even a little that Ford won’t even look at him, won’t talk to him. Doesn’t bother him that when Bill does talk, he rolls his eyes. It doesn’t bother him either that Ford gets up every time Bill enters the room even for a moment. It’s not like he cares about the asshole or wants to see him. It’s fine for Bill.

Fine, fine, fine, fine, fine.

And because it is so fine, he’s not sure what exactly caused him to get mouthy with Sixer the night before.

Ford had made some inane comment and Bill couldn’t help but correct him. Over a trillion years in the multiverse, he knows when he’s right about something.

Ford bit back.

And Bill argued against.

It’d devolved into a petty back-and-forth, both of them digging their claws in places it shouldn’t go without caring for the carnage it spread.

It ended when Bill called Ford “my shining star” like this was just a philosophical disagreement thirty-one years prior.

He shouldn’t have done that.

The next thing Bill knew, he and Ford were rolling on the ground, fists flying and snarling at one another. Ford caught him in the nose, Bill punched him in the mouth, both of them scratching and pulling hair like a pair of animals.

It took Stanley and Soos both to pull them apart, both of them still swinging until they were forced to calm down.

After that, Bill had left his unfinished dinner to sit on the roof and wait out everyone else’s dinner. It was only because the blood wouldn’t stop flowing from his nose while the blood on his knuckles had dried uncomfortably to the point he kept accidentally ripping it when he flexed his hand that convinced him to go downstairs.

He’s still figuring out this whole human thing and, yeah, he was fumbling with the tape and his nose was dripping all over everything and he was fighting not to get it on the stupid sweater he got from Shooting Star and—

That’s how Ford found him.

There were no words as he crowded into the small bathroom with him, took off his gloves, and started to doctor Bill.

Neither of them say that there’s something familiar about this, them being together while cleaning up blood and puss and setting bones, usually injuries inflicted on Ford by Bill. There’s probably something funny about the idea of it being the other way around now.

They’re both too tired or embarrassed to say anything for awhile, but then Ford makes an innocuous statement that raises Bill’s hackles and there goes the peace. Then they’re shoving and pushing into a wall, Bill effectively having Ford cornered against it, chest-to-chest, spitting in each other’s faces, and then—

Then they were decidedly not fighting.

“Yeah, well, Fordsy is a know-it-all prick who doesn’t actually know everything,” Bill defends. “He started the fight.”

“That’s not what I heard,” Red replies in a singsong voice.

“And who’s telling you this?!”

“Don’t worry about it.” Red goes quiet for a moment, but he knows she’s still staring at him. “Did you two really make out though?”

Bill is quiet, can’t quite find the words he wants to say about this. Was his tongue in Ford’s mouth? Yes. Were Ford’s hands in his hair? Also yes. Did Stan walk in while Bill’s hand was halfway down the front of Ford’s pants? Regrettably.

“It was a… heat of the moment thing.”

“Wow. I mean, I knew you two were something back then, but I figured you two had, you know, moved past that.”

Bill doesn’t respond for awhile, leaning back to sweep the dust into the garbage bag he’s holding.

“So did I.”

[katabay]

L'APPEL DU VIDE

okay so. jack! jack. what a collection of guys. the overlap between jack and the beanstalk and jack the giant killer, though. that sure is something! sometimes king arthur is there, which always takes me by surprise.

this. specifically. is an idea I've been kicking around. jack and the beanstalk is not a story I've ever enjoyed, as a kid it was probably my least favorite to read. as an adult, I was INTENSELY fascinated by reading j.g. ballard's the drowned giant. I think about it frequently, and somewhere during a re read of it, I ended up revisiting jack.

combining different versions of jack into one character is not a new concept, but it IS a fun one! the version I've been assembling together plays less with the fun elements of a jack story (and adjacent folklore stories), and focuses more on the potential for tragic elements with the addition of the usual grim and jagged narrative edges that I personally enjoy.

jack with the backstory of the devil and the three golden hairs, only jack doesn't find love, he's TIRED, all he wants to do is go home, but there isn't a home to go back to. what is the point of being born lucky if this is what it gets you? jack the giant killer, only he doesn't want to kill giants, jack who saw a body of a giant when he was a small child and cannot bring himself to do as a king commands. jack, who climbs up the beanstalk and stops halfway to look down. etc.

to go back to the drowned giant real quick, both to set the tone about jack seeing the body of a giant as a youth, and also because I've been haunted and obsessed with this excerpt of it ever since I read it:

J. G. Ballard, The Drowned Giant

anyway! this was originally like, a two illustration concept to get out of my system. however. I'm halfway through outlining a narrative. so. maybe it will also be several illustrations and also comic.

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